By Susan A. De Guzman

While others may hide their age or even lie about it, Lisa Macuja-Elizalde unblinkingly and exuberantly proclaims her own. 

“I’m turning 58 on October 3!” she tells the media gathered at tables set up on the Aliw Theater center stage — a spot the prima ballerina, now retired, is comfortable with. 

“In two years, I’ll be a senior citizen!” she gleefully adds, her still slight build and girlish grin seeming to contradict her statement. 

If there’s an extra spring to her step and an unmistakable sparkle in her eye these days, it’s understandable. After all, Lisa is unboxing a present like no other — a birthday gift from her husband, Manila Broadcasting Company chairman Fred J. Elizalde, that she will be sharing with an audience on October 7 and 9. This is Rise!, a show that heralds the return of Ballet Manila — of which Lisa is artistic director — to its performance home, Aliw Theater, after three years. 

The comeback is significant since, as the show’s title implies, it signals a new beginning for the company. Rise! celebrates the end of a long drought, and is a toast to performing artists as theaters have started reopening and stages have welcomed them back once more. 

The double-bill of Ballet & Ballads and La Traviata features Ballet Manila alongside pop belter Bituin Escalante, classical singers Jade Riccio, Ivan Nery, Chris Arceo and a 12-voice ensemble, and a 60-piece orchestra conducted by Maestro Gerard Salonga.

Lisa is stoked about the show that is ballet, opera and pop concert with live orchestra rolled into one neat package. “The performers are ready! I hope that the audience is ready for a show like this with a diverse program,” she enthuses.

Putting together such a show was unthinkable just months ago, but the easing of restrictions has now made it possible. It’s a gift that Lisa is only too glad to share, making up for her past three birthdays that had admittedly been marked by a tinge of sadness.

It started in 2019 when, on October 2, a day before her special day, a horrific fire hit the family-owned Star City complex, leaving Star Theater in ruins and Aliw Theater damaged. 

“I woke up with everything gone,” the prima ballerina recalls. The theaters — both gifted to her by husband Fred — had been home to Ballet Manila for many performance seasons. 

What made it more distressing was that they had been set to open the classic Giselle in a matter of days. Though they did manage to mount the said show at the Cultural Center of the Philippines two weeks later, Ballet Manila had become an itinerant troupe forced to complete its season in rented theaters. 

The future was unsure.

But the situation turned even bleaker when the pandemic hit in 2020. A mandated lockdown in March that everyone thought would be brief kept getting extended, from two weeks to months, with no end in sight. On what would have been the opening of Ballet Manila’s 25th season that August, all live performances had ceased. So when Lisa’s birth month came again, there wasn’t much to cheer. 

Ballet Manila eventually learned to adapt as it held company classes via Zoom, while the Lisa Macuja School of Ballet regained its footing through online sessions and virtual recitals. But with the repair of Aliw Theater slowed down by pandemic limitations and live shows still a no-no, 2021 remained challenging. It was another birthday of uncertainty.

Lisa seesawed between hope and despair through that time. While she tried to hold on to the belief that the phoenix will rise again from the ashes — a rallying call for her dancers — there were moments when she would waver as reflected in some of her Facebook posts. 

Now, as she turns another year older, there is reason to be optimistic even as she contends with a tumult of emotions — relief, excitement, happiness, gratitude, and apprehension too. 

“I am very sure that Ballet Manila dancers still have the solid technique, artistic integrity and athletic stamina to perform a two-hour live show but there is still the risk that post-pandemic protocols may cause delays, postponements or scary cancellations,” Lisa candidly says.

But setting aside those niggling concerns, she tries to focus on the possibilities that have now opened up again for Ballet Manila. Rise! will only be the start, with every October henceforth to be reserved for special shows. 

Every December, there will be a Holiday Ballet Series as a Christmas gift to Ballet Manila audiences, to be kicked off this year by Lisa’s enchanting Cinderella.

Lisa is also elated to usher in the company’s long delayed 25th performance season in February 2023 when Ballet Manila actually turns 28. In the offing is Martin Lawrance’s updated version of Romeo and Juliet that combines text messages, Original Pilipino Music (OPM) and millennial elements. 

Ballet Manila then turns to its classical roots with Don Quixote and finally, restages its groundbreaking adaptation of Ibong Adarna by Gerardo Francisco Jr. 

Cognizant of how things can disappear in the blink of an eye, Lisa is determined to treasure every moment revolving on dance. She can only wish that the viewers will be there with her and Ballet Manila to enjoy it all too, starting with Rise! 

“For us, it’s a chance to celebrate our art, to create a beautiful show. It’s a gift of memories to be shared with an audience as well. It’s the best birthday gift ever!”

Tickets to Rise! are available exclusively via Ticketworld. Visit the website www.ticketworld.com.ph or call 8891-9999 for details. Use the promo code BalletManilaRise10 to get 10% off on published ticket prices.